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CORRECT 
COLOR SCHEMES 

ILLV ST RATED 



PAINTING THE HOVSE 
IN HARMONY WITH ITS 
ARCHITECTVRE AND ITS 
SETTING .TOGETHER WITH 
SIMPLE HINTS ON SHRVB' 
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NATIONAL LEAD COMPANY 




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HIS booklet is in- 
tended to answer 
two questions of 
great importance 
to every home 
maker. First, 
how best to preserve and beautify 
the houses we Hve in; second, how 
to make the most of building 
plots limited in area. 

We Americans are fast learning 
that it is just as easy and just as 
inexpensive to have homes that 
are tastefully decorated and 
grounds that are well planned as it 
is to have them fantastic and un- 
attractive. With all our hurry we 
are somehow finding time and 
means to care about what is 
artistic. 

We are learning that good taste 
is a higher and a safer standard 
than a mere fad or style or fashion. 
Good taste outlasts any passing 
fancy and is never freakish. It 
rests on the laws of harmony, 
which do not change. 

One other thing which we have 
found out is that the selection of 
the right color scheme for one's 



house adds dollars and cents to the 
value of the property as well as gives 
satisfaction and pleasure both to 
the owner and his neighbors. 

The house owner's first need is a 
clear idea of what goes towards 
the making of an artistic home, 
and the first principle in that idea 
is the rule of simplicity. A scheme 
of decoration that is simple and 
appropriate is likely to be pleasing 
and, therefore, successful. 

Those two rules of simplicity 
and fitness are of the highest im- 
portance when applied to the 
painting of the house and to plan- 
ning the bits of landscape around 
it. The house must appear to fit 
into the place where it has to 
stand. The way it does fit de- 
pends a great deal upon the way it 
is painted and the way the grounds 
about it are laid out. There must 
be harmony in the color scheme it- 
self, harmony in the plan of the 
grounds, harmony between the 
house and its neighbors. 

The value of this booklet lies in 
the fact that the suggestions in it 
are definite and practical. In or- 



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PLATE A 
The above color harmony would look well on any house similar to those represented below. 





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der to enlarge its scope and useful- 
ness, small pictures are grouped 
with each colored engraving, show- 
ing houses to which the same or 
similar treatment has been suc- 
cessfully applied. Each house 
shown represents an actual exam- 
ple of harmonious and tasteful 
painting. So large a variety of sug- 
gestions is sure to include some 
that will meet the needs of any 
inquirer. 

The grounds and 
buildings of a subur- 
ban or country home, 
carefully planned, will 
be an unfailing source 
of pleasure to the 
owner and to his ap- 
preciative neighbors. 
Fortunately, a good 
example is more like- 
ly to be followed than a bad one, 
and the existence of one beautiful 
place, however modest, will stimu- 
late the owners of adjoining prop- 
erties, often transforming a whole, 
neighborhood. 

In the colored engravings show- 
ing ten model schemes for the 
artistic painting of various styles of 
houses, it has been the attempt to 
give the general impression which 




GROUND PLAN FOR PLATE A 



the actual house would make on 
the observer, not to show the exact 
tint of the paint in the pail. Shad- 
ows and high-lights are retained in 
the picture to preserve the natural 
effects, but as these interfere when 
attempting to match up the paint 
to be used, a practical guide for the 
painter has been placed on the last 
page of the book. This consists 
of painted blocks showing the 
tints and shades re- 
ferred to in the de- 
scriptions, together 
w^ith the reference 
numbers used in con- 
nection with them in 
describing the color 
schemes in the book. 
No attempt has 
been made to present 
expensive and pre- 
tentious houses only, nor to offer 
correct models for building new 
houses. Rather, we have tried 
to show what can be done with 
various types of actual and prev- 
alent houses, ranging from the 
simple and modest to the more 
elaborate and imposing, by taste- 
ful selection of color schemes to 
suit the type to which one's house 
belongs. 





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PLATE B 

The abf)\'e color hannonv would look well on any house similar to those re]>resented below. 




THE COLOR PLAX AXD THE PAINT 



A HOUSE which is set closely 
among trees or other ver- 
dure should not be painted 
green or olive, though there may 
be no objection to green trimming. 
Colors contrasting with the sur- 
roundings are 
better for the 
body. 

If a house is 
low, w i t h a 
tendency to 
" squattiness, " 
a dark color 
should not be 
used. Paint 
it light and 
preserve the 
benefit of what height it possesses. 

Nothing is better than pure white 
for certain styles of country and 
suburban houses, especially if set 
snugly against a green background 
and amidst green surroundings. 
Naturally, however, white is a poor 
scheme for factory towns or other 
dirty localities. A very light gray, 
like french or pearl gray, may be 
more durable than pure white, and 
yet give nearly white effects. 

Houses with shingled upper 
stories as a rule should be painted 
on the lower story a lighter shade 
than the shingles. The shingles 
may be Indian red, dark brown, 
dark green or some olive shade. 
The body should harmonize, as 
light or dark olive with Indian red, 
cream with browns, the grays with 
dark green or dull red. 

Not all colors and tints are 
equally durable. Cold colors, like 
the grass greens, blues and certain 
cold shades of yellow, hasten the 




GROUND PLAN FOR PLATE B 



deterioration of the paint film. 
This is due to the fact that they do 
not reflect or turn back the heat 
rays of the sun, but allow them to 
penetrate the film. 

Tints based on the reds, browns 
and blacks are, 
as a rule, the 
most durable. 
Thus the 
g r a }^ s , the 
slates, the 
browns, the 
richer yellows, 
etc., are excel- 
lent for wear 
and are at the 
same time the 
most pleasing on the house. We 
therefore recommend them most 
frequently in our designs. . 

Perhaps a word should be added 
for the benefit of those who mav 
have always thought of white lead 
as good for white paint only. The 
fact is, white is and must be used as 
the base in making all paints of 
light tint and many paints of dark 
shades, too. Black and certain in- 
tense shades of blue, red, brown and 
yellow can be produced without 
using any white base, but by far the 
greater number of tints, especially 
those most admired for house 
paint and the most durable for that 
purpose, are made by mixing a 
small portion of tinting color with a 
large portion of: white lead. With 
some colors a f 6% Ounces are enough 
to tint ICO pounds- of w^hite.lead. 




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PLATE C 

The above color harmony would look well on any house similar to those represented below. 













portant consideration in painting first step, obviously, is to buy the 

your house. ingredients separately and have 

Choose your color scheme care- them mixed specially for you. 

fully, but choose your paint still Sometimes imitation paint is 

more carefully; otherwise your represented a^ pure white lead and 

beautiful color scheme may vanish pure linseed oil. That is fraud, 

in a few months. Sometimes vou are told that 

Aside from a few perishable there is something else in the paint, 

tints which cannot be secured in but that it is put there because it 

any durable material, you prac- has been discovered that white 

tically have an unlimited range of lead makes better paint if some 



tints and shades to 
choose from if you 
use pure white lead 



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Pure white lead 
and pure linseed oil 
make a combina- 
tion which has 
been known for 
generations as the 
best paint for all 
general painting. It still stands 
unequaled, both for durability and 
for the wide range of its possibil- 
ities in decoration. From white 




GHOUND PLAN FOR PLATE C 



Other white sub- 
stance is added to 
it. In the face of 
pure white lead's 
long years of undis- 
puted success, the 
burden of proof is 
on the person who 
proposes to tamper 
with it. Don't let 
experiments be 
made on your house 
at your expense. Ask the experi- 
menter three pertinent questions. 
Ask him, first, how it comes that 
out of ten advocates of addins: 



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down through the widest possible something to white lead to '' irn 



gradations of every imaginable tint 
and shade, pure white lead paint, 
made to order, meets every whim. 
The user of stock paints is nat- 
urally limited to stock tints. 



prove ^^ it no two will agree upon 
just what should he added! Each 
is sure that the addition favored 
by the other makes the paint very 
bad! 

Ask him, second, how it is that 

every material suggested as an 

All house paint, except the very 'improver" is cheaper than white 



WHERE THE DANGER LIES 



dark colors, is made from white 
lead and linseed oil or from substi- 
tutes made to imitate one or both of 
these two standard ingredients. 
Three things, then, threaten the 
durability of your paint : first, the 
adulteration of the white lead ; sec- 
ond, adulteration of the linseed 
oil ; third, the use of a very perish- 
able coloring material to tint the 
white lead. To be sure of getting 
pure white lead, pure linseed oil 
and proper tinting material, the 



lead; and why, though it costs the 
manufacturer less, the combina- 
tion of white lead and the cheaper 
material costs the consumer more 
than pure white lead ! 

Ask him, finally, how it is that 
scaling, splotched houses have fol- 
lowed in the trail wherever the 
"combination pigment" theory 
has been applied, while on the 
other hand there was never a case 
known where pure white lead and 
pure linseed oil paint scaled off! 




Paint, even when made of white 
lead and oil, can be so abused in its 
applications as to make trouble (as 
for instance, when it is applied to a 
damp surface), but your painter 
will vouch for the statement we 
have just 
made that 
pure white 
lead and 
pure lin- 
seed oil 
paint will 
not scale off. 
So much 
for the pig- 
ment mow. 




GROUND PLAN FOR PLATE D 



as to the 

' ' vehicle ' ' or liquid. If the linseed 
oil is adulterated the paint will 
never dry properly and the film 
never become tough. 

Adulterations are difficult to de- 
tect. For white lead there is the 
blow-pipe test, a sure detector of 
adulterants, but there is no simple 
and absolute test for linseed oil. 
The presence of fish oil and, gen- 
erally, rosin oil, can be detected by 
the rank odor, for pure linseed oil, 
when rubbed briskly between the 
hands, has the 
pleasant and 
familiar 
aroma of flax- 
seed. But corn 
oil (which is 
a more fre- 
quent adul- 
terant nowa- 
days), while 
possessing a 
strong odor, 

cannot always be detected unless 
a large quantity has been used. If 
a few drops of linseed oil be placed 
upon a black-painted surface and 
a bluish tinge or cast appears about 
the edge, such as kerosene exhibits, 




GROUND PLAN FOR PLATE ON DOUBLE CENTER PAGES 



it is evidence of adulteration by 
use of petroleum. 

But even chemists are some- 
times deceived by the more subtle 
adulterations, and the best protec- 
tion is the name of a reliable maker. 

Learn by 
inquiry 
what is gen- 
erally rec- 
ognized as 
a reputable 
brand and 
insist on 
your paint- 
er's using 
it. 

Finally, 

as to tinting colors. If the paint 
is to be white, no coloring materials 
are needed, but if a tint is desired, 
chrome green, french ochre, prus- 
sian blue, chrome yellow, Venetian 
red or some such ''colors in oil," as 
they are called, must be added in 
small quantities to the white lead. 
These tinting colors must be of 
high grade or they will fade out 
and spoil an otherwise good job. 

HOW TO PROTECT YOURSELF 

What the 
property 
owner wants 
is a painting 
job which will 
last and look 
well a reason- 
able length of 
time. Expe- 
rience has 
shown that 
paint made 
of pure white lead and pure linseed 
oil wears, is reliable, gives the prop- 
erty owner his money's worth. 
Specify those materials and see that 
your painter uses them. Learn the 
name of a o^ood brand of linseed 





A modern park arrangem 



ent. Colors of neighboring houses should ha 




ot only in such cases as this, but, so far as possible, in all neighborhoods. 




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oil and specify it. To secure pure 
white lead is easy. Look for the 
Dutch Boy Fainter trade-mark on 
the side of the steel keg. White 
lead so marked is guaranteed pure. 

Have our white lead 
and the other ingredi- 
ents brought to your 
premises and mixed 
there. This is not 
only surety that you 
get the materials you 
specify, but it insures 
the paint's being 
mixed fresh and for 
your job. The latter 
is a very important 
point, next to the puri- 
ty of materials the 
most vital to the dura- 
bility of the work. A 
good painter would 
no more think of put- 
ting on your house 
paint mixed for en- 
tirely different conditions or a paint 
made to meet general conditions 

than a good doctor would prescribe 

the same medicine for all kinds of 

diseases. 

The paint film is apt to crumble 

if the in- 
gredients 

are not 

mixed in 

proper 

order. This 

crumbling 

or ''chalk- 
ing "is then 

blamed on 

the white 

lead. The 

remedy is 




P -i <s •SI rm^i ■] 



GROUND PLAN FOR PLATE F 




cuts at the expense of good work. 
First thin the white lead paste by 
mixing with oil. Tinting colors 
should next be added, then more 
of the oil. Finally, the turpentine, 
if that material is to 
be used, should be 
stirred in, and for 
outside work not 
more than one part 
turpentine should be 
used to five parts oil. 
Paint is more easily 
mixed and will spread 
farther if more tur- 
pentine is used than 
we recommend and 
if it is added before 
the final oil. A con- 
^;. tractor may be able to 
^j make a slightly lower 
'%4J bid by doing the job in 
a way which allows 
him to work faster 
and spread the paint 
out farther, but the house owner 
should remember that spreading 
the paint over a large surface is 
one thing, while covering the sur- 
face properly and producing a 
paint film which will wear well are 

e n tirely 
.-k^. different 
things. 

A slight 
saving at 
the e X- 
pense of 
durability 
will be 
costly in 
the end. 

Use good 
materials 



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GROUND PLAN FOR PLATE G 



properly the painter's business, but mixed right and put on in coats 

the house owner, himself, is often of proper thickness. A job will 

responsible. By insisting on a low result which wih put off the day of 

price he indirectly influences the repainting several years. That is 

painter to hurrv^ and to adopt short true economy in painting. 




17 




PLATE G 

'llie above color harmony would look well on any house similar to those represented below 




iS 



EXPLANATION OF THE COLORED PLATES 



IN these notes each first sugges- 
tion describes the color scheme 
actually used on the house shown 
in the colored plate. Each second 
suggestion would be suitable for the 
same house. Either suggestion could 
be adapted to the houses shown in the 
small pictures accompanying the re- 
spective plates. 

Plate A . Suggestion No. i. 
Lower story, band below eaves, trim 
and sash, white; shingles, weathered; 
blinds, medium olive (No. 312). 
Suggestion No. 2. Lower story, band 
below eaves, trim and sash, ivory 
(No. 331); shingles on upper story, 
slate green (No. 311); roof and blinds, 
medium olive (No. 312). 

Plate B . Suggestion No. i. 
Body, yellow (No. 307); trim, white; 
roof, weathered; blinds, green (No. 
324). Suggestion No. 2. Body, 
white; blinds, green (No. 324); roof, 
slate green (No. 311). 

Plate C . Suggestion No. i. 
Body, sash and trim, including porch 
rail and columns, white; porch floor, 
medium slate (No. 302); shingles, 
weathered; blinds, green (No. 324). 
Suggestion No. 2. Body, cream (No. 
305); trim and sash, white; porch 
floor, pearl gray (No. 303) ; shingles, 
weathered; blinds, green (No. 324). 

Plate D . Suggestion No. i. 
Body, yellow drab (No. 316); trim, 
white; roof, Venetian red (No. 322). 
Suggestion No. 2. Body, white; roof, 
brown (No. 319). 



Plate E . 

Plate F . 
Stucco, natural: 



Decorative. 



Suggestion No. i. 
trim, including the 



half timbers and sash, tuscan red (No. 



320); shingles, weathered; blinds, 
bronze green (No. 323) ; porch, choco- 
late brown (No. 317); chimneys, red 
brick. Suggestion No. 2. Body, light 
terra cotta (No. 308) ; shingles, dark 
brown (No. 319); trim and half tim- 
bering, terra cotta (No. 309) ; blinds, 
dark brown (No. 319); porch floor, 
medium slate (No. 302) ; chimneys, 
red brick. 

Plate G . Suggestion No. i. 
Body, trim and sash, white; roof, 
deep green (No. 340). Suggestion 
No. 2. Body, yeUow (No. 307) ; trim, 
white; roof, weathered. 

Plate H . Suggestion No. i. 
Body, colonial yeflow (No. 307) ; trim 
and sash, white; roof, weathered; 
blinds, green (No. 324). Suggestion 
No. 2. Body, french gray (No. 304); 
trim and blinds, dark olive (No. 313) ; 
sash, white; roof, weathered. 

Plate I . Suggestion No. i. 
Body, tuscan red (No. 320); trim, 
cream (No. 305) ; roof, weathered. 
Suggestion No. 2. Body, chocolate 
brown (No. 317); trim, dark brown 
(No. 319); roof, weathered. 

Plate J . Suggestion No. i. 
Body, neutral drab (No. 315); trim, 
dark olive (No. 313) ; roof, weathered; 
porch roof, indian red (No. 321) ; sash, 
black. Suggestion No. 2. Body and 
trim, white; roof, weathered; sash, 
tuscan red (No. 320). 

Plate K . Suggestion No. i. 
Lower story and trim, ivory (No. 331) ; 
shingles, deep green; roof, weathered; 
blinds, green (No. 324). Suggestion 
No. 2. Lower story, cream (No. 305) ; 
trim and sash, pearl gray (No. 303) ; 
shingles and blinds, dark brown (No. 
319); roof, weathered. 




19 



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HAVING THE WORK DONE 



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After the material and the 

/"^ color scheme have been 

chosen, the next thing for 

the property owner to think of is 

getting the work done. 

Four ways are available. First, 
ask several painters 
for estimates; sec- 
ond, hire a reliable 
painter without pre- 
liminary bids ; third, 
purchase the ma- 
terial and hire a 
painter to apply it; 
fourth, buy the ma- 
terials and apply the 
paint one's self. The 
last is advisable only 
when a painter is not within reach. 

The good painter is one of the 
most important factors of a satis- 
factory painting job. He is worth 
all he costs. An ignorant work- 
man can spoil the best materials 
and send a big expenditure to pot 
by his blunders. It is fortunate, 
therefore, that the majority of 
painters are competent, trustwor- 
thy men who know their materials 
and apply them intelligently. 

The trained painter knows that 
no one paint formula is suitable 
for every job. Different kinds of 
wood require different consisten- 
cies of paint and different propor- 
tions of white lead and linseed oil. 
So, too, changes must be made for 
old wood and new wood, sunny 
side and shady side, warm weather 
and cold., weather. Driers are all 
right one'' place but fatal another. 
Turpentine is a help one time, a 
paint crime another time. The 




GROUND PLAN FOR PLATE H 



good painter knows, and he is a 
good investment, the same as pure 
white lead and good linseed oil 
are good investments — because 
they cost less in the long run. 
Suppose, then, that you are con- 
sidering estimates 
for painting your 
house. You have 
been careful to place 
each painter on the 
same footing by 
specifying our pure 
white lead guar- 
anteed by the Dutch 
Boy Painter and a 
reliable brand of 
linseed oil. You 
find that there is a noticeable differ- 
ence in the figures. A little inquiry 
is likely to show you a valid reason 
for the difference. See if the man 
whose price you consider high isn't 
in the habit of doing high-grade 
work. Examine some houses he 
has painted for other customers. 
Ask those customers how the work 
stands. Then apply the same 
measurements to the low-priced 
estimate. Get the same kind of 
information about the work of both 
contractors and carefully compare 
the results. Make sure that the 
low bidder hasn't a reputation for 
unsatisfactory work. 

All the while keep in mind the 
principle that successful house- 
painting is vastly more than a 
mere mechanical process. It 
needs intelligence, skill and, ex- 
perience. The wise employment 
of these is always an econom- 
ical investment. 



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DiciDUOUs Specimen 
Evergreen Tree 
Evergreen Specimen 

DiciDuous Planta- 
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Flower Parterre 
Hedge Fence 



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Ornamental Seat 


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Fountain 




Property Line 


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Sun Dial 


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Vegetable Garden 


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Residence 



KEY TO LANDSCAPE AND PLANTING PLANS 

PLANNING THE GROUNDS 



IT should be no more expensive 
to have one's house and 
grounds well thought out and 
beautiful than to have them ill 
considered and ordinary. The 
difference is chiefly in knowing 
how to plan them. 

The landscape 
sketches which ac- 
company the colored 
designs in this book- 
let were prepared by 
professional land- 
scape architects who 
know what is good. 
The plans in each 
case conform to the 
actual surroundings 
of the house illustra- 
ted, and they prove 
that the opportunity on a plot of 
small dimensions, 50 or 100 feet, 
is far greater than is usually ap- 
preciated. 

By simply extending or contract- 
ing the boundaries of any plot each 
of the plans shown may be readily 
adapted to plots of varying sizes. 
No attempt has been made to show 
plans for elaborate or extensive 
ojrounds. Those who own estates 




GROUND PLAN FOK PLAl E 



Exposure to the sun and pre- 
vailing winds govern the location 
of the main rooms and piazzas of 
the house, and these rooms and 
piazzas in turn will probably dic- 
tate the location of the lawn and 
garden and other 
special points of in- 
terest. The vege- 
table garden will 
naturallv be toward 
the rear of the plot. 
A landscape pic- 
ture appears, of ne- 
cessity, different 
from each point. It 
cannot be made 
equally beautiful 
from all. Select, 
therefore, the most 
important view, the most capable 
of being well treated, and con- 
centrate the effort there so as to 
produce a beautiful result from 
that point. 

The object of landscape work is 
to create a picture that will be in 
keeping with its surroundings. 
Violent contrasts are to be avoided. 
"Ornaments should be incidental. 
Foliage is fundamental. Green- 



v/ill employ their own architects. sward is the canvas on which the 




23 



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24 



picture is spread. Plants are 
more useful for the position they 
occupy than for their kinds. 
Walks and drives are no part of a 
landscape picture; they are a ne- 
cessity." 

To compose the picture study 



the surroundings, 



the 



GROUND PLAN FOR PLAT 



groups of trees and plants to har- 
monize ^vith the masses of foliage 
or other features on the adjoining 
properties. Views 
must be considered. 
Unsightly objects 
should be screened 
out . A formal flower 
garden is by no means 
a necessity, but is 
often a very attractive 
and proper feature. 
Both shrubs and 
flowers must be so 
arranged that the pe- 
riod of bloom of one 
set of flowers will be 
followed by others. Flowers in 
parterres or beds should be so se- 
lected that portions of them will 
be kept blooming throughout the 
summer. 

WHAT KINDS OF FLOWERS 
AND SHRUBS 

Some good varieties of shrubs, 
trees and flowers are named here, 
but the nature of the grounds and 
the climate must always be taken 
into account. 

For irregular plant groups va- 
rieties of golden bell, rose of Shar- 
on, spiraea, lilac, viburnum, hy- 
drangea, deutzia, dogwood, kerria, 
stephenandra, rhodotypus. 

These may be supplemented 
with evergreen trees of moderate 
size, including pines, spruces, ce- 
dars, hemlocks and junipers. 

Beautiful evergreen groups for 
shady places are composed of rho- 
dodendrons (both native and 




hybrid), mountain laurel and 
azaleas. 

Specimen evergreen trees, Aus- 
trian pines, Scotch pines, Koster's 
blue spruce and boxw^ood. 

In front of the foliage groups and 
bordering closely may be planted 
bright-flowering borders of hardy 
perennials and annuals. Peren- 
nials include asters, poppies, dai- 
sies, coreopsis, larkspur, foxglove, 
gaillardia, hibiscus, 
lobelia, peonies, 
phlox and scabiosa. 
Annuals include pan- 
sies, mignonette, he- 
liotrope, sweet alys- 
sum, verbenas, mari- 
golds, nasturtiums, 
salvias and gladiolas. 
For hedges, Cali- 
fornia privet, rosa 
rugosa, spiraea va- 
rieties and Japan 
barberry. Hardy 
perennials and annuals would also 
be used in the garden. 

For shade trees, hard and soft 
maples, pin oaks, lindens, catal- 
pas, sweet gum, tulip tree, oriental 
palm and native beech. 

For high screening, rapid grow- 
ing trees, such as Carolina and 
Lombardy poplars, which may be 
planted closely. 

The actual effects will depend 
considerably upon the proper se- 
lection of these specimens. It is 
best to have a planting plan, show- 
ing the disposition of the various 
features. Such a plan may be 
readily prepared by anyone who 
will make a little study of the 
eleven diagrams in this booklet. 
If at first glance the ground plots 
look more or less alike a closer 
inspection will show a wide variety 
in arrangement. 

Note first the key to landscape 



25 



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PLATE K 

The above color harmom- would look well on any house similar to those represented below. 





26 



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and planting plans shown on page amples of small houses, and indeed 
23. Then carefully plot the grounds cottages, designed by architects 
on a good sized sheet 



indicating the house, 
walks, and other fea- 
tures in their proper 
positions and in right 
proportions. Select 
from the list of shrubs 
and flowers the varie- 
ties preferred or that 
are most available , and 
compose the whole 
picture on paper. This 
will be a practical 
guide and will be a^ 
great help in securing! 
the desired effect. 

There are already, in the vicinity 
of many large cities, numerous ex- 



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GROUND PLAN FOR PLATE K 



of the highest stand- 
ing, who have not 
thought it beneath 
them to give the same 
conscientious study 
to these small houses 
that they give to their 
larger problems. 

A small plot is 
just as worthy of 
thought as a small 
house. ]\Iuch can be 
done with it, not by 
overloading it with 
decoration but by 
placing a few care- 
selected plants, trees and 



fully 

shrubs in just the right place. 






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27 



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rO. 319. OARK BRO\ 



lO. 323. DARK BRONZE GREEN 



lO 332. OLIVE BROV 



O. 313. DARK OLIVE 



lO. 320. TUSCAN RED 



lO 32«. BLINO GREEN 



NO. 32r. INDIAN RED 


1 NO. 309. TERRA COTTA 


NO. 322 VENETIAN RED 








NO 308 LIGHT TERRA COTTA 


NO. 317. CHOCOLATE BROWN. 


NO 314- FAW N 








iNO 310 GREEN 


NO. 3 OS. CREAM 


NO. 312 MEDIUM OLIVE 








NO 301 LIGHT GRAY 


NO. 311. SLATE GREEN 


NO. 303. PEARL GRAY 








NO 3?<» LIGHT CHROME YELLOW 


NO. 307. YELLOW 


NO. 316 YELLOW DRAB 








NO 31 -S. NEUTRAL ORAB 


NO. 316. BLUE 


NO 304. FRENCH GRAY 






NO. 306. BUFF 


NO. 302. MEDIUM SLATE 1 


NO. 331. IVO R Y 



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26 







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